ISSN 2319-5339 IISUniv.J.A. Vol.3(1), 100-106 (2014) Hrishikesh Mukherjee's Anari : Expressions of a Director Radhika Sharma and Garima Srivastava Abstract This research paper is an effort to study and analyze the creative expression of renowned Hindi film director, Hrishikesh Mukherjee’s directorial debut, Anari. It is in the form of a descriptive type of research which is conducted through a case study and content analysis. The objective of the study is to explore the characteristics and appeal inherent in his signature style and to pay attention to the underlying theme of the film. Mukherjee has carved a middle path between the mainstream cinema and the stark realism of art cinema. He has toned down the entire pitch of the movies, keeping the narrative low-key. Even as the story moves on a path of conflict between crass commercial interests and social responsibility, the ending was happy - with reservations. ‘Hrishida’, as he is fondly called, has addressed a myriad of issues simultaneously in one cinematic experience. He has created a real, wholesome world within his microcosmic outline of stories, adding gems to the lineage of middle-class films in the Indian Cinema. Keywords : Direction, Editing, Middle Cinema, Symbolism, Characterization Introduction Hrishikesh Mukherjee was born on September 30, 1922 to Sheetal Chandra Mukherjee in the joyful city of Calcutta. After passing B.Sc in Chemistry with distinction from the University of Calcutta, Hrishida worked as a teacher and a freelance artist at All India Radio. He spent many long hours at Calcutta’s Paradise Café in the company of cinematic giants such as Tapan Sen, Mrinal Sen and Ritwik Ghatak. As a result, he realized his ultimate dream. In 1945, he joined Calcutta’s leading studio ‘New Theaters’ as a laboratory assistant. He also tried a hand at cinematography and also honed his skills under the guidance of Subodh Mitter, a well-known editor of his times. Then he joined the filmmaker Bimal Roy and within just 3 years he was promoted as a film editor. Mukherjee directed 42 films in his film career. His films gave an upward thrust to the subtle and humble middle-class cinema, keeping the essence of ‘Indian Cinema’ alive amidst the glitz and glamorous concept of ‘Bollywood’. All his films carry a watermark which distinguishes his work from the others. For example, Chupke Chupke is a light-hearted, situational, family comedy which also gently touches upon the evolving husband-wife relationship over generations. Namak Haram, an intense social-drama which along with being a story of conflict between two men portrays the age-old tussle of the ideologies 100 Sharma & Srivastava 2014 named capitalism and socialism: symbolizing the men as two thought processes which often cloud a nation’s collective psyche. Then, there is Guddi cleverly revealing the truths of the world of ‘make-believe’, better known as ‘cinema’ before a naïve young girl and thereby, letting her absorb and decide for herself that there’s nothing more enchanting than the wonders of real, regular life. It is essential for the researcher to find, mention and analyze early perspectives relevant to the proposed study. Thus, given below is a brief discussion of selected viewpoints of various critics which shall act as a framework to understand Mukherjee’s style of film making. Prasad (1998) examines certain defining features of various forms of narratives practiced in the Indian Cinema. He also expresses his expert comments by constantly traveling between the theoretical concepts and their detailed implications related to different aesthetics of the Indian Cinema. Prasad opines that the middle class cinema predominantly emphasizes on the extended familial network as the bricklaying site of the emergence of nuclear couples. It is the middle class which bears the burden of national identity on its shoulders. Ray (2001) analyzes that though the number of writers has increased overtime, they can never be called cinema’s sole saviors. For the words of a writer need a strong support which lies in the command of a director’s action. Positively, it is the director’s version of the writer’s story which plays out on the celluloid and seeks to connect the audience with the characters. Ray quotes the famous French director, Jean Renoir, “Each time I make a new film, I want to feel like a child, who is learning about the cinema for the first time.” Ganti (2004) analyzes the cultural, social and political vitality of the Hindi Cinema from both national and global perspective. Also, she provides a vivid insight into the show runners in the industry such as directors, screenwriters, stars, composers, etc. Huda (2004) propounds that film-making is the most beautiful and communicative of all art forms. He compares the art of making films with sculpture making and music wherein the collective efforts of many talented people produces eternal, great classics. Cinema is synonymous with the point of horizon where the techniques of science and the creativity of art meet. Somaaya (2008) deals with different topics related to the field of the Indian film fraternity and show many shades, degrees and trends of the industry. Further is a discussion on Mukherjee’s first directorial venture, Anari to throw some light on his style of film-making and his perception as a whole. Hrishikesh Mukherjee was one of the few people who were successful in transferring the neo-realist’s detailing for aesthetics to make the film venture commercially viable at the box-office, as Prasad analyzes. He can rightly be called a ‘middle-cinema’ director. Through his films he suggests that the middle class of the country is still a newer phenomenon with a lot of possibilities of ‘disidentification’ and eventually ‘reidentification’. Hrishida’s films are a 101 IISUniv.J.A. Vol.3(1), 100-106 (2014) reflection of the developing, educated urban society with stories that were close to the heart intermingled with several shades of emotion, drama, comedy, satire, sarcasm and the like. He created a real, wholesome world within his microcosmic outline of stories, giving the Indian cinema a lineage of ‘middle-class’ films. Hrishikesh Mukherjee was known for his planning before action. According to Amitabh Bachchan, “They (characters) were all exceptionally well-etched…He told us to stand there, walk here, say it in this manner, speak like this – that’s how he used to direct all of us. So our input was nothing at all. All that you see in his films is entirely his input.” (REF…) Mukherjee’s Anari (1959) has been studied and analyzed on the following parameters: a) Characterization: The protagonist, Raj Kumar is an honest and law-abiding individual. Being inarticulate, he’s often fired from jobs and called names like Anari i.e. someone who doesn’t understand worldly affairs. He bears a bitter attitude towards the rich. Therefore, on being persuaded by Aarti to charge heavily for a painting, Raj accepts the offer and remarks, “Phir toh main lambe paise maangoonga, ameeron se koi humdardi nahi hai.” His poverty and inability to be street-smart has made him sarcastic. He points out that it’s ironical that his parents named him ‘Raj Kumar’ meaning ‘a prince’ considering his perpetuating unemployment. Also, his stagnant condition is like his stopped alarm clock which always strikes 12! He’s a man of ideals. When Ramnath offers him money after a minor accident, Raj refuses and says, “Main bekaar hoon, bhikhaari nahi.” At his new job in a restaurant, Raj screams at the top of his voice on seeing a cockroach floating in food and unintentionally ‘announces’ it to the customers creating chaos. He’s insulted for being brutally honest and fired immediately. He’s generous as he offers all his earnings to Aarti (who’s posing to be Asha, the maid) that he receives for the painting when he learns that her mother is ill. He dismisses her embarrassment and says, “Ehsaan toh ameer log karte hain. Hum gareeb toh ek- doosre ki madad karte hain.” Aarti is an educated, rich girl who gradually becomes Raj’s love interest. The following comment expresses her happy-go-lucky nature: “Main itni subah kyun uthoon. Mujhe kaunsa chachaji ki tarah kaam par jaana hai!” When Asha fears what her uncle’s reaction will be on learning Aarti has bunked college, she coolly lays in the chair in a fetal position and says, “Chachaji mujhse kabhi gussa nahi karte, woh mujhe bohot pyaar karte hain.” This visual suggests that Aarti is a carefree and pampered child. It can be drawn that Aarti is kind and helpful from the conversation she has with Asha where she lovingly forces her to borrow money from her and send it home. Seth Ramnath is Aarti’s uncle. He dresses in suit-tie and is often seen enjoying a drink or a smoke, while attending the official-social gatherings. His condescendence is evident placing his hands on his waist when Raj tells him that 102 Sharma & Srivastava 2014 he’s lost his ‘atthanni’. He offers him some money and says patronizingly, “Ye lo! Aur aankhein kholkar chala karo!” He’s pleasantly surprised by Raj’s honesty and offers him a job: “Naukri chahte ho?...Iss pate par kal chale jaana...(kaam) mil jayega nahi, mil gaya!” He relies on an astrologer’s forecasts (indicating his superstitious beliefs), who promises high sales to Ramnath by saying, “...Bhagwan toh door nahi hain...unhone flu Singapore se aadmiyon ke saath madras bhej diya...Bambai aane mein kya der lagti hai?” Another important character in the film Anari is that of Mrs. D’sa, who is Raj’s tough-looking but kind-hearted landlady.